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SEATTLE AND HONOLULU % "if. 7(:. .' -)(. many of the Abstract Expressionists, and coloring the whole point of view of men like Robert Bonneville, Bernard Buffet, and Sinko, another of the artists who prefer to use only their last names. There has been, too, a tendency to turn back to the Impressionists, not so much because of their theories or their artistic principles but rather because of an in- clination to use their discoveries about the interrelations between light and col- or, and the technical devices they in- vented to exploit them, as a point of departure for the development of new, abstract tonal patterns; and another faction of painters, active mainly just after the war and now pretty well dispersed, but whose influence is still apparent, undertook to go back to the Gothic styles, and especially the stained-glass windows of the twelfth and thirteenth centuries, for their in- SpIratIOn This last may seem a long reach back into the past, and an out-of-the-way one, at first glance, but of the artists concerned, there are several, among them Jean Bazaine, MaurIce Estève, Charles Lapicque, Edouard Pignon, and Pierre Tal Coat, who have lately achieved considerable prominence, and though it may seem odd to find the cathedral of Chartres and the ancient abbey museum of Cluny becoming "* places of pilgrimage for not only tour- ists but for modern artists, the fact IS that the ideas behind the movement made more sense than might be sup- posed. Intrinsically, it was an attempt to find a fresh approach to abstraction, and the artistry of the Middle Ages, with its lack of interest in the uses of perspective (indeed, its total igno- rance of that science), ItS stIff, geo- metrically exact use of outlIne, and its flat stylIzations seemed to offer an ad- mirable field for research and experi- mentation. Things worked out dIfferently, of course, as the) 're bound to do when artists venture into the recondite regions of theory. The revival of interest in Impressionism by many of these paint- ers led at times to a blown-up version of the Pointillisme of Paul Signac and Seurat, and the can vases of that school, being made up of little more than serried dapplings and dabblings of color, can be fairl} monotonous. Because of the dis- locations of forms the style entails, it is fashionable now, in dealing with its more advanced practitioners, to speak in such atomic phrases as "bursting forms," "inner energies released," and so on. 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